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Conan O’Brien Decries ‘Bullies’ While Receiving Kennedy Center’s Mark Twain Prize 

Comedian Conan O'Brien waves to the crowd at the start of the 25th Annual Mark Twain Prize for American Humor Celebrating Conan O'Brien, Sunday, March 23, 2025, at the Kennedy Center for the Performing Arts in Washington. (AP)
Comedian Conan O'Brien waves to the crowd at the start of the 25th Annual Mark Twain Prize for American Humor Celebrating Conan O'Brien, Sunday, March 23, 2025, at the Kennedy Center for the Performing Arts in Washington. (AP)
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Conan O’Brien Decries ‘Bullies’ While Receiving Kennedy Center’s Mark Twain Prize 

Comedian Conan O'Brien waves to the crowd at the start of the 25th Annual Mark Twain Prize for American Humor Celebrating Conan O'Brien, Sunday, March 23, 2025, at the Kennedy Center for the Performing Arts in Washington. (AP)
Comedian Conan O'Brien waves to the crowd at the start of the 25th Annual Mark Twain Prize for American Humor Celebrating Conan O'Brien, Sunday, March 23, 2025, at the Kennedy Center for the Performing Arts in Washington. (AP)

Conan O'Brien accepted the Mark Twain Prize for American Humor on Sunday with a not-so-subtle broadside against President Donald Trump, whose takeover of the Kennedy Center, which awarded the prize, has shaken the arts world.

A host of comedians including David Letterman, Adam Sandler, Sarah Silverman and Stephen Colbert celebrated O'Brien for comic greatness while ribbing the Trump administration and putting a spotlight on the renowned arts facility that is now overseen by Trump allies.

But it was O'Brien, the longtime late-night television host and comedy writer, who aimed his comments most directly at the Republican president without using his name.

"Twain hated bullies," O'Brien said. "He punched up, not down. And he deeply, deeply empathized with the weak."

O'Brien described the award's namesake as "allergic to hypocrisy" and suspicious of populism and imperialism. "He loved America but knew it was deeply flawed," O'Brien said.

Trump, who came into office in January, has spent the last two months implementing much of the populist agenda that helped him get elected last year while advocating for US annexation of Canada and Greenland, firing federal workers, and deporting migrants who were in the United States illegally.

The show was the first signature event at the Kennedy Center since Trump announced he would become chairman of the institution, pushing out billionaire philanthropist David Rubenstein.

Trump dismissed board members appointed by former President Joe Biden and installed officials loyal to him. He handed leadership reins for the facility to Richard Grenell, a close ally and former ambassador to Germany who is serving as envoy for special missions in Trump's current administration.

The new board, which includes White House chief of staff Susie Wiles and Usha Vance, wife of Vice President JD Vance, fired its former president, Deborah Rutter.

Trump visited the center last week and declared it in "tremendous disrepair." O'Brien thanked Rubenstein and Rutter in his remarks, drawing loud applause from the audience.

"When he accepted the Mark Twain Prize, this was a very different place," Colbert said from the Kennedy Center stage. "Today they announced two board members: Bashar al-Assad and Skeletor," Colbert quipped, referring to the former president of Syria and a cartoon villain.

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Other comedians joked that this would be the last Mark Twain Prize awarded by the Center. John Mulaney cracked that the facility, which is seen as a memorial to slain former President John F. Kennedy, would be renamed after Roy Cohn, a political fixer known for his role in Senator Joseph McCarthy's anti-communist scare campaigns of the 1950s, and a lawyer for Trump in his early years in business.

Along with the annual Kennedy Center Honors in December, the Mark Twain Prize is one of the premier events at the renowned arts institution.

Trump did not attend the event on Sunday and did not attend any of the Honors performances during his first term.

O'Brien hosted the Oscars earlier this month and is slated to come back in the emcee role next year.

He was the host of "Late Night with Conan O'Brien" and "The Tonight Show with Conan O'Brien" on NBC and "Conan" on TBS. He is a former writer for "Saturday Night Live."

"You are a genius, my friend," comedian and actor Will Ferrell said from the stage.

"You're an absolute giant in the world of comedy," said actor and comedian Tracy Morgan.

O'Brien told reporters before the show that he wanted to go through with the event to support Kennedy Center workers. "Our country has been through many different sea changes, and my thought is I will be here specifically to honor Mark Twain and the people that this award stands for," he said.

Previous winners of the Mark Twain Prize include Kevin Hart, Sandler, Jon Stewart, Julia Louis-Dreyfus and Carol Burnett. Sunday's show will be available for viewing on Netflix on May 4.

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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.